Untitled - Университетско издателство "Неофит Рилски"

Transcription

Parallels between Sébastien de Brossard (1655-1730) &
Neofit Rilski (1793-1881)
Prof. Yavor Konov, Ph.D., Dr.Sc.
Department of Music, Faculty of Arts,
Southwest University Neofit Rilski
This article is a resume of the official open academic lecture „Sébastien de
Brossard (1655-1730) & Neofit Rilski (1793-1881): clerics, erudites, bookmen,
educators, enlighteners, musicians, lexicographers…” which was presented by me on the
days of the special celebration of the 30th anniversary of the Southwest University Neofit
Rilski in Blagoevgrad (the leading educational, scientific and art institution in
Southwestern Bulgaria and one of the leaders on the Balkan Peninsula in these fields).
Neofit Rilski (Neophyte Rilsky) is an exceptional person! If he had lived in another
epoch – and another place, in some of the leading economically as well as culturally
developed countries – along with if he had observed the necessary etiquette and had the
chance, Neofit Rilski would have been an outstanding figure in the world history and
culture.
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After having translated from facsimile the first European Modern Dictionary of
Music (written in current language – French), namely Dictionaire (sic, Y.K.) de Musique,
contenant une explication des Termes Grecs, Latins, Italiens, & François, les plus usitez
dans la Musique (Dictionary of Music…), Seconde édition, 1705 (R Frits Knuf,
Hilversum, 1965) by the French cleric and musician Sébastien de Brossard (1655-1730), I
was highly intrigued by his personality and works. I examined closely almost all of the
existing literature that was related to him and I dedicated to him my large doctor’s
dissertation (there are two doctoral degrees in Bulgaria – Philosophy Doctor and Doctor
of Sciences), named “Lexicographic and Historiographic Legacy of Sébastien de
Brossard (1655-1730) – a cleric, musician and erudite”. Sébastien de Brossard was
almost unknown in Bulgaria, even among experts.
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On the other hand, Neofit Rilski is well known in Bulgaria because he is one of
the most prominent figures in the enlightment, literary and cultural movements which
took place in the 1830s in the country. He was a cleric and a patriot of high intellect,
spirit, morality and ethics, duteous and responsible, a man of self respect, diligence and
capacity for work having a great clerical and encyclopedic knowledge for this time
period. He made sense of other people’s experience and accumulated experience of his
own through his position as a teacher in Gabrovo and Koprivshtitsa – he was a pedagogue
and an author of some books and textbooks, an educator and a preacher on clerical and
state matters. Neofit Rilski played a major role in the process of reformation and
expansion of the education in Bulgaria: the transition from monastery schools to new
Bulgarian democratic state schools. Unfortunately, Neofit Rilski is not famous abroad.
So, I made a parallel between these two outstanding characters, so different
and so alike, belonging to two hardly comparable epochs and cultures:
● to catholic absolutist France of 18th century (a leading European power and
culture of that period) and
● to Еastern Orthodox Pre-liberation Bulgaria within the Ottoman Empire
of 19th century (a period when the industrial revolution had already changed the world
dramatically).
This period is characterised by both the historically determined separation of
Bulgaria and the significant lagging behind from the evolution and modernization of
Western Europe and the impressive recovery since the time of Paisii and Neofit Rilski to
our recent time as a member state of the European Union.
There used to be and still are many Bulgarian scholars, who have proved to be
leading specialists in their fields and who work abroad as well as in Bulgaria and
many of them are product of the Bulgarian system of education. I am pleased to say
that in the process of work on the previously mentioned Dictionary of Music by Sébastien
de Brossard, which included translation, giving meaning to this work, comments, I made
a reshuffle of the themes, which outlined and systematized 12 groups of terms (and 33
subgroups) and quantified them statistically; these presented the spheres of knowledge of
this epoch and their characteristics – something which hadn’t crossed the minds of the
greatest experts on French Baroque in music from the Center of Baroque music in
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Versailles. “We are talking about a remarkable work, the approach towards Dictionary of
Music by Sébastien de Brossard offers a new and promising point of view concerning the
study of lexicographic units in the dictionary and their rearrangement in thematic
“classes”. This systematic and statistical study has an innovative approach which could
be applied and arouse interest for the aggregate of theoretical tractates of 17th and 18th
century. Actually Mr. Konov’s works are an integral part of the fields of study of the
Research Studio of Center of Baroque music in Versailles which started the publishing of
the musical works of Sébastien de Brossard within the Monumentalia collection a few
years ago. Mr. Konov’s research and results legitimate the contemporary review of the
Dictionary of Music by Sébastien de Brossard, which is complemented by this
lexicographic study. It would be honour for us to realize this publication within the
Center of Baroque music in Versailles and to entrust it to the care of Mr. Konov.
Versailles, 20 March, 2006.” Please do not consider this immodesty: I would just like to
“draw the circle” – I have studied and specialized in Bulgaria and have the pleasure and
privilege to work in SWU Neofit Rilski. In other words I have participated actively and
am still participating – within my field of study and my time – in the outstanding
Bulgarian “recovery” process.
So I studied and compared the epochs of Sébastien de Brossard and Neofit
Rilski in detail (Absolutist France and Bulgaria within the Ottoman Empire from the
time of Neofit Rilski: “His monastic clothing could be seen throughout the century of
reign of the sultans Selim III, Mustafa IV, Abdulite Medjis, Azis and Hamid”, as quoted
by writings of the Neurocopian Head of metropolis Pimen).
And OTLINED THE FOLLOWING PARRALELS BETWEEN Sébastien de
Brossard and Neofit Rilski:
1.1. De Brossard was a French catholic cleric, a noble from absolutist France, the
greatest European power at that time (18th century).
1.2. Neofit Rilski was a Bulgarian Eastern Orthodox cleric originating from a
wealthy, active and public spirited family on both his father’s and mother’s side, who
lived in Bulgaria just before its Liberation (19th century) from the Ottoman Empire and
who witness this national Liberation.
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2.1. The personal, cultural and socio-professional development of De Brossard is
determined and limited to a great extent by the limitations of a society, both dynamic and
established, whose social groups and classes control their boundaries strictly. His petty
noble status and his insignificant financial resources together with the lack of relations to
any high-ranking members from the Church and Court determined the limitations in his
professional growth in the Church hierarchy out of the Court spectrum.
2.2. The family environment of Neofit Rilski probably played a role in his choice
of profession in the Bulgarian Eastern Orthodox Church (his father was a priest), it also
determined his cultural interests and self discipline, and moulded his self-respecting
character (due to his wealthy family origin?). The influence of his social environment in
the Eastern Orthodox Bulgarian village of Bansko, a center of culture and trade probably
formed his duteousness and patriotism. It is difficult to determine the extent of each
influence.
3.1. The intellectual and creative gifts of de Brossard as well as his education in
the catholic Jesuitical schools in combination with his active mind, hard work and
capacity for this work are the basis for his strong positions as a musician-both practician
and theorist, with encyclopedic interests but with marked affinity to music. De Brossard
remains famous as a musician and lexicographer.
De Brossard gathered a huge in content and value personal library and systemized
it methodically and with care into a Catalogue which he later gave as a donation to the
Royal Library: this is currently the most significant “data base” on the theory and practice
of music from that time and region.
The catholic French cleric de Brossard was greatly influenced by the Italian
culture and especially by the music but he searched for and found the right balance
between the Italian and French style and preferences in his work as a musician,
pedagogue, composer, theoretic and lexicographer.
3.2. The Orthodox Bulgarian cleric Neofit Rilski was under the strong influence
of the ancient Greek and modern Greek culture but he was a Bulgarian, taught Bulgarian
language and became the patron and father of the new Bulgarian state education in his
work as a bookman, enlightener and teacher (although he worked under the clerical
power of the Greek Patriarchate!). He laid the due weigh on the ancient and modern
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Greek culture and on the Russian culture as well but this did not deflect him from his
original position of a Bulgarian bookman and teacher.
3.3. Both were ardent bibliophiles!
4.1. Unfortunately “The Italianist” De Brossard never realized his dream to visit
Italy! As a matter of fact he never left France, and he did not travel much within its
borders either, especially after he settled down in Meaux where he spent the last 32 years
of his life!
4.2. “The Hellenist” Neofit Rilski managed to visit Mount Athos (although it was
a 10- day- trip only) and he worked on the island of Halki in the High Clerical Greek
School (he was the first Bulgarian university professor) and taught Church-Slavonic
language and literature there, which was a mark of great recognition!
5.1. The Dictionary of Music by Sébastien de Brossard, which was printed in few
editions, was only the first step towards the works of his lifetime – the Dictionnaire des
auteurs (Dictionary of Authors), the Dictionnaire dogmatique (Systematic Dictionary)
and the Traité général de la musique (General Treatise on Music), which remained
unprinted or disappeared (only the draft manuscripts on them have been preserved and
there is still a lot of work to be done on them by researchers in the field of history and
theory of music).
Many scholars in France and all over the world (including me) have devoted their
hearts, minds, time and efforts to this research activity. The leading French (and world)
institution – The Research Studio within the Center of Baroque music in Versailles –
dedicated many years of research to de Brossard ‘s work, it organized conferences,
symposiums etc. and published all of his printed and unprinted musical works, as well as
the Catalogue of his personal library.
5.2. The work of Neofit Rilski’s lifetime – his Lexicon – to which he devoted 6
decades and revised completely from Greek-Bulgarian to Bulgarian-Greek remains
unpublished. His enormous Psaltikia also remains unpublished. I am wondering: Don’t
we, not only our colleagues in the field of musicology from the Study of Art Institute
within the Bulgarian Academy of Science, but also the colleagues from the Southwest
University Neofit Rilski, all have a bounden duty to Neofit Rilski and his deed?
6. In conclusion I would like to state that:
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The deed of the Frenchman Sébastien de Brossard – a lexicographer and
collector – is of international significance but to a certain field of culture.
The deed of the Bulgarian Neofit Rilski is of great and fundamental
significance to our educational system, our national self-awareness and culture.
BIBLIOGRAPHY
I Concerning Sébastien de Brossard
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